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intersections tilda rawles jessie coleman


brief


brief

Initial thoughts on the brief set for the Amsterdam brief were good. Intersections was a good starting point to begin to break down what we saw and experienced in Amsterdam. At the beginning of the project, I had it in my mind that we definately use photographs and found things from Amsterdam, 1st hand research. This was good to do and look through but finding a topic within intersections that was from what the dutch people said about Amsterdam seemed more relavent.


DISCOVER


observing amsterdam


When taking photos in Amsterdam, it was colours and shapes that made the interesting photos. I was playing around with the depth of field and sometimes taking photos without looking. This one was successful as I like the hint or green, blue and light pink. Overlaying the images, I am starting to approach the topic ‘intersections’ more and seeing whether small and large images interact with one another when they intersect. I enjoy the aesthetic of focsued and non focused overlapping.


This was taken outside a university visit in Amsterdam. There was alot of new sites going up and the structures and materials that are used within this field hold beautiful shapes and materials. This orange in particular caught my eye and hugley reflects the true colour of Amsterdam.


This was taken outside a university visit in Amsterdam. There was alot of new sites going up and the structures and materials that are used within this field hold beautiful shapes and materials. This orange in particular caught my eye and hugley reflects the true colour of Amsterdam.


These balloons were just randomly placed at the side of the road which were just really delightful to see. The water on them gave a really good texture and pattern. Slowly the balloons will burst like the one on the right, sort of using them like flowers but to decorate the street.


Again the construction materials caught my eye. This scaffolding had lovely blue and yellow stripes which gave a lovely real opacity over the top. Combining these two images works well as the verticle and horizontal lnes contrast one another.


This photo, I was really pleased with. It is a christmas light in the reflections of a puddle. The lighting and shadow really creates an atmosphere and then the lights in the puddle look like a painting.


Photographing people was a big part of the amsterdam trip for me. Using the light and environment they are in, in a non posed manner worked really well.


This was taken on the stair case at the university. Here the intersection topic comes through nicely in terms of point of contact. The colour lime yellow and light teal blue are really beautiful.

The university visit was really interesting. We did a speed dating thing where we got to ask the current students there about the work they are producing. One of the igrls was heavily into typography and editorial work. She used purple within her work alot which suprised me as you dont see it being used alot back in the Uk. This is was something tat could be tied into the intersection brief through the use of the colour purple.


Overlapping different imagery is a nice way to start playing with the top intersections, because you are simply having two photographs intersect one another.


Whilst I was in Amsterdam, I was taking alot of photos of the tram lines vs the bike lanes and other lines on the road. Every now and then a cyclist would abstruct the shot and the path way.

In this shot, the beam of light shining onto the wet floor works well as a contrast to the duller/darker parts of the photograph. The theme of red throughtout the image was from an apposing light, which so happens to pull all of this dutch feel together in one image.


This photograph was taken on the tram. The tram was a perfect way to sit and watch the rest of Amsterdam and most importantly capture things that you may not have seen if you had been walking a specific route. The composition is good here, looking out from within the tram which may be a nice angle on the direction of this project.


The transport system in Amsterdam was very well organised. You have a range of trams, trains, bikes, cars and taxis. The transport became part of Amsterdam as a city rather than being a bain on peoples time and site around the place.

As there is alot of modes of transport, to a tourit/visitor it seems rather overwhelming at first and quite baffling to get your head around it actually working but it does. These sorts of images throughout a publication may set the scene and tell the truths of Amsterdam. Whilst giving texture and colour, breaking up the pages.


Focusing on public transport again, the road markings whether directional or to keep people in certain places, were so spot on and organised that they became aesthetically pleasing. The cross over of things really interested me and the intersections of things. The blue here is really frezh and one that will be colour picked for a colour pallette.


Within this image, the slight yellow glare/filter going across the angled infrustructure of the plane, really works. The persepective also makes this image, with repetitive throughout.


initial idea generation

Day 1

Tilda and I started off by looking at each others findings from Amsterdam. Tis included a range of photographs and leaflets we collected. Tilda was drawn towards this image that was scaffolding, where a new sign was at the top and then the old sign had simply slipped down and was sort of reflecting the new one. She thought this may link to the correlation between what people think Amsterdam is like as a place and then the reality. The post boxes also caught her eye as they were so uniform and the same every where, holding lots of different details like names or numbers. She compared these little post box openings to Amsterdam. The fact it is so structured in the way its country runs; tram lines, bike lanes, perpendicular canals, yet there are these little pockets of


initial idea generation

different things, bursting out and have so much life to them. This was something that we discussed that could be throughout the publication, in the way that it is folded or the viewer is taken through the book, revealing truths throughout.

back at uni with Tilda

My photos really gravitated towards textures in the street, from scaffolding material, balloons, building side work etc. I also started to look at the floor. As this is something you can’t really find unless you visit somewhere. The tram lines cross over the road markings beautifully. We discussed that these lines and compositions should not be ignored, yet used within our page composition, where is s the positioning of text or imagery or a collage of the shapes over the top. We started to talk about the studios we were visited and the similarities

and differences between them all. A topic that came up a lot was the fact that tourism was once praised in Amsterdam and really pushed. Whereas now they are trying to reduce or coordinated the tourists in a certain way, in order to not pester the locals. This made me think of the iAmsterdam sign that is a really tourist attraction. It moves around but it is mainly based in the area around the Van Gogh museum, Stediliyk and the Ritz Museum. Tourists pose infront and top of it for their photos. This is where Tilda and I started to spark off ideas. What if we were to visualise this over tourism by drawing around the tourists in certain environments, starting with this very iconic sign. It starts to wear down the sign and show the mass of tourism. From here we both realised we did not want this project to be full led by tourism but for it to be a starting point. Also focusing more of the correlation between the positive and negative intersecting each other.


first experiments with idea


first experiments with idea


first experiments with idea

We iscolated the cut out and simplified its form to a black shape. This abstact shape then becomes an ‘A’ of our new alphabet.


first experiments with idea


first experiments with idea


first experiments with idea

S is for Sarah

30.01.18


first experiments with idea


first experiments with idea


initial idea generation refined

Day 2

Tilda and I wanted to really nail the content and meaning of our publication on the head. We were having fun making visuals from the found imagery and the photographs took of the day but we wanted to rain it in a some point, in order to start the dummy publication for Fridays tutorial. Tilda began to experiment with the removing of the tourists in a more 3d way. She printed out the IAMSTERDAM sign and cut the individual letters up, bending them and folding them where a person was leaning on it. This then scanned in and traced on illustrator, created beautiful shapes. With these shapes we started to arrange them on the page with the direction of the tram line photographs etc. We also looked at a book purchased in Amsterdam and designed by one of the designers at 75b?


initial idea generation refined

This was a lovely reference to look at in a sense of page layout and leaving visuals to breath on a page, using grids and sticking to one colour. I began to fold plain piece of A4 and cut the centres half way in order to create a binding method. I included smaller pieces. After I had a mock up of the physical boo, I began to draw from the shapes we had collected and look at the ways in which we could present throughout the layout. The inner pages that were smaller, created a form of intersection which was nice. Imagery and text bang to overlay and the positive and negative focus began to shine threw. I then photographed this mock up, each page at a time, put it into photoshop and started to combine I and Tilda’s visuals onto it, as a mock up experiment. This allowed us to see what did and didn’t work. We discussed maybe screen printing

over full page spreads and then maybe rising the text underneath the paper flaps. Working in this way really enabled us to start visualising and figuring out the structure of the book. This made it a much more flowing book making process. As normally I think about the folding, paper stock and the general book making last which isn’t good. Tilda also started to creat layouts on photoshop and indesign and started to look at smaller details, such as captions. Putting the large letter form small above the caption works well and ties everything together. By the end of the working day, we realised were not afraid to let this book purely run poetically and just let the letter forms/shapes stand on their own with a caption.


experimentation


experimentation


visual inspiration


visual inspiration


visual inspiration


visual inspiration

We both looked through ABZ and Numbers in Graphic Design. This allowed us to look at type forms even if they were numbers, in order to look at colour, line finish and the way in which its been created for us to test/trial and error. We enjoyed seeing the use of imagery within the type form and intersecting them both in order to create a visual instead of a readable word. The compositon used within the page is also hard when creating morphed type that doesn’t stick to the grid. The simpler spreads seemed the most successful to us and we were drawn to looking more in detail at the form itself, without distractions. Also the more crowded pages works well to break the page pacing and create more of an aethetic pattern. The forms we looked at also made us realise we could simplify the technique of removing people form their photos, and folding the iamsterdam letters to get a more crisp/smooth line.


75B studio visit // Amsterdam

75B had a huge impact on my practice. Pieter Vos essentially instilled the message ‘Good or bad create it’. This is something I wanted to put into this publication.


75B studio visit // Amsterdam

Just have fun with letterforms and actually enjoy the process rather than thinking about end result. This became the drive behind the project.


visual inspiration


visual inspiration

Spin publication was a good reference to look at. This book contains beautful number and letter forms throughtout. We were interested also by the red used throughout. We believe it really works as it allows the rest of the publication to be experimental and the viewer can focus in on the forms and shapes. The balance of imagery, text and white space is well paced throughout. The joining of the letters and unformal grouping on the page is something we will definaely explore within our letter explorations created from the tourist iamsterdam sign photos. The sleeve that the publication is sitting in is also a really good touch. The paper used is slightly transparent, just like baking paper style, in order to capture the shapes behind the title/front cover. This publication has been great to explore as it has made us realise that you can stick to a grid but be playful with it, don’t be scared to go a little random/messy.


DEFINE


idea refinement

After lots of experimentation with the instagram tourist photos, it was evident we wanted to go with this idea. To make it more clear, the process was: talking about the Amsterdam trip as a whole and noticing that alot of the dutch people we met were annoyed and worried about the mass tourism that Amsterdam is trying to withhold. 10 Years ago it was about getting more tourists in, hence why a design studio designed the now famous ‘iamsterdam’ 3D sign for tourists to take photos of


idea refinement

and have photos with it. This seemed an obvious tourist attraction to pick and use in order to portray what is happening to the city with all of this tourism. By focusing on this sign it allows us to play with all the visuals that comes with it - instagram found images from tourists there. We are then able to play with their caption, likes, comments and shape they make infront of the sign. We would like to make it a type exploration but not let this constrain our experiments in anyway. We are both eager to try incorporate imagary throughout the book in order to break up the textures and colour a bit. Things we will need to consider is narrative, what and who is this book made for?


proposal / brief outcome

To create a publication that explores the intersection between a place and tourists. We will use the iamsterdam sign as our tool inorder to create a new set of letterforms. These letterforms will show the impact the tourists are making, through showing their imprint on a 3D object. The publication visuals will be sourced from found imagery on social media.


proposal / brief outcome


DEVELOP


experimentation


experimentation


experimentation

Two different processes : cutting tourists out of their photos and leaving the letter cutting iamsterdam letters up and folding and distorting the paper where the tourist is interacting


experimentation


experimentation


experimentation


experimentation


experimentation


experimentation


experimentation


experimentation


experimentation


experimentation


initial print out used to fold and collage


folding + naming by instagram acount


folding + naming by instagram acount


illustrator


illustrator

Here we began to scan in the folded and cut out letters and trace them on illutrator to create solid shapes. This also gave a smoother and more finished look. Once we had these shapes saved we could play around with the angles etc in order to create different letters of captials.


illustrator


illustrator


mikeyh90 Heineken experience

07

Ligatures

26

26

26


e

E

E

e

26

E


colour + collage play


colour + collage play


rotation play


rotation play


rotation play


rotation play


overlapping + boarders


overlapping + boarders


inspiration

Throughout the project it was good to keep referring back to others work to get ideas for composition and colour play. Pinterest is a very good source for this. These gave us ideas to overlay the letters and to intertwine.


inspiration


layout + dimensions


layout + dimensions

Understanding the way in which the letterforms could work together as a set in situ, and trying to form a narrative that stitches together the letters. Should it be wholly abstract as a book or be driven by a narrative?


Paper stock // GF SMITH TALK

The GF Smith talk couldn’t be better timing with this project. It allowed us to look at all of their clients work that have a range of paper, card stocks, colours and textures. It opened up our eyes to the possibilities of printing and the difference that printers/paper stocks make to a publication. We were interested in asking about high gloss paper that was gloss one side and matt the other. GF smith don’t do a double sided stock but they let us know how we would try about going it. We would need to coat the paper in a gloss/glue then set it with a UV light.


Paper stock // GF SMITH TALK


Paper stock // GF SMITH TALK

This book was not binded, the folds all folded in together, creating a viewing system where you see two images intersecting one another which was lovely tough. It also enabled the reader to change around the order of the book to create different visuals.


Paper stock // GF SMITH TALK

This publication showing the paper stocks of GF Smiths new range was held together with another card insert that looped round the back. It was like a french fold in the middle to hold information that can be removed, then the book would slowly pull apart.


Paper stock // GF SMITH TALK


Paper stock // GF SMITH TALK

When asking about the gloss paper, GF Smith showed us this publication where part of the page was gloss. This was something we hadn’t seen before which was really interesting to see. It is a form of screen printing but printing over the image with a gloss substance, leaving the rest of the page the original matt.


Paper stock // GF SMITH TALK


Paper stock // GF SMITH TALK


colour

We spoke to Heidi, my sister who currently lives in Amsterdam and asked her what she and her colleagues that are dutch believe are the true colours of amsterdam or a colour that reminds them of there. She said : orange, red and blue. Orange is the traditional colour used for Queens/Kings Day, red for bricks and blue for the sky.


paper

Learning about the glossing technique was reallly interesting. We decided to use vinyl sticker in order to see what the aesthetic may look like with the newsprint too. The gloss worked well inside the french folds, but the letter forms in gloss looked rather scrap booky. We are aware that with our use of newsprint, the publication may have the tendancy to look quite hand made and scrap book vibes.


folding experiments

Testing the potential of concertina and french folds - how the letterform can be distorted across two spreads in a more interesting way. Also holds the potential of what you could put or ‘hide’ in the fold.


folding experiments


french fold + hiding folds


french fold + hiding folds


initial visuals for publication


initial visuals for publication

Taking the physical intersection of tourists with the Iamsterdam sign, we chose to pursue type experiments to play with form and the metaphorical effect tourism can have on a landscape. Initially we thought this could take the form of a type specimen book.


layout + composition

We chose to focus the narrative as the fabrication of the letters. Each letter will be introduced in their group with the origin letter being shown with a bold underline. The feature pages of our favourite letters span a spread or fall across a french/concertina fold onto the next page.

how / why?


layout + composition

The narrative is still somewhat vague to anyone reading the publication. We were struggling to input how the letters were made without obstructing our current composition. We wondered if it would be more acessible simply as a collection of form, and if the explanation should exist outside of the publication.

how / why?


interim crit

We realised that the reader needed to be led through the publication, and that there should be appropriate pacing throughout - breather pages needed adding to slow the reader down, as well as variation to avoid boredom.

We decided that the publication could be housed in a dust jacket, and within that jacket could have the process of the making of the letters. This would provide the reader with context. This also could be achieved with a poster that folds and wraps around to form the cover.


interim crit


studio dunbar poster fold outs


poster dust jacket mock ups


dust jacket to explain theory behind letter forms

Using the jacket as a place to show the progression of the methods we are using throughout the publication but the visuals of the found imagery off instagram is quite hard to make aesthetically pleasing. The order and narrative also looks rather messy all together.


dust jacket experimentation


further dust jacket ideas


dust jack further dust jacket ideas et experimentation

We decided that it would be nice to beable to take something from the publication. We thought a poster with a letterform/shape and the full set of letters to make the iamsterdam sign would be good. This could printed on a thicker stock and slotted into the french folds or option 2 is to print the poster and fold it into a dust jacket for the book. The poster could also be a form of a type family?


poster ideas


poster ideas


type family poster


type family poster


type family poster


dust jacket poster

type exploration posing infront of


refining details / decisions

We used these quick layout drawings in order to figure out narrative and pacing of the book, seeing where the reader would need a breather of visuals etc.


refining details / decisions


print testing // order


riso master preperation


riso master preperation

Before mocking up the masters for the riso printer, we had to order the spreads so they would be in the right order for french folds and for the full page spreads to link up together.


DELIVER


riso masters

riso printer masters 2 spreads on one A2


riso masters


riso masters


riso masters


riso masters


riso masters


riso masters


riso masters


riso masters


riso masters


riso masters


riso masters

Seeing the publication spreads all lined out on the masters ready to print, showed us that the pacing was right and the balance between block colour and white space works well. There is enough structure created by the gridding and placement of the letterforms, to allow them to breathe and be the main focus of the publication.


material choices

newsprint why?


material choices

because we wanted a paper stock that was easy to fold, was off white colour and contrasted well with the bold letterform colours


printing method // riso

The first prints for the front cover and posters came out really well. The ink came out denser than we thought and gave a good block colour. The newprint also worked well to print on, making the pages flimsey to turn and play with the french fold.


printing method // riso

After seeing the riso prints come out for the cover and posters, we realised how successful the colour and print was on newsprint. We decided to chane the printing method for the

body of the publication to be riso printed instead of ink jet. We did this because we thought it would tie in well altogether being the same consistancy of block colour. We arranged 2 spreads on one A2 sheet in order to organise the order. Block blue on the back in order to show within the french fold, giving a glossy effect we wanted from the beginning.


riso masters drying + spraying stage


binding choices

Why perfect bind? We initially thought we were going to sew the boock together but the french folds and amount of spreads made it too thick to sew. We also realised newsprint rips sometimes when sewen. We did like the thought of the bright blue or orange thread going through the whole book though. These were the colours we chose.

We were really pleased with how the normal french folds turned out. They showed lovely sections of colour down the side. We also decided to not include the double foldedfrench folds as we ended up not hiding the captions in them so the normal french fold gave the side colour effect instead.


final outcome for crit


final outcome for crit


final outcome for crit


final outcome for crit


final outcome for crit


final outcome for crit


crit notes


crit notes

The crit went well and the Zoe + Matt enjoyed the visuals of the publication. They suggested that we take out all of the text and have it as a seperate hand out. This will allow our visuals to breathe and just be seen without having ot read along side. The handout could also explain the backing of this publication a little better but without distracting the visuals by being seperate from them. They agreed that the cover should be block imagary that looks abstracted. Here are the feedback notes :

Really good start, final detail the only thing left to work through. Visually richexperimentation with form, aided by interesting choices in materials and use of colour. Some thoughts. Dust jacket folded poster should ideally workboth folded down and when laid flat as a “poster.” Captions, index and introduction designedwithin the book currently disrupt rather than enhance the reading experience, could these be housed on the folded poster, tucked under the folds? Would allow the book to be read autonomously, as a defined “piece.” Embrace the abstract typographic forms, make use of the french folds and their relationship to surrounding images - could you play with positive and negative space? Some refinement in how you typographical ly treat reference material (captions, numbers, footers etc) is need, anchoring them to the page in a consistent way throughoutwill help aid the readers understanding of these elemnts. Great Stuff. ”


crit notes


crit notes


Iamsterdam process book  
Iamsterdam process book  
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